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Samplers are useful to buyers when they provide a representative selection of an artist’s or label’s wares. They offer the listener an opportunity to obtain a feel for the product. Summit’s sampler is over an hour long, provides selections from sixteen different albums, and includes the artistry of a wide range of artists.
"Boplicity" is a recreation of the original Miles Davis item, performed by Summit’s Jazz Nonet with solos by trumpeter Greg Hopkins, saxophonist Bryon Ruth and pianist Chuck Marohnic. Pete Jolly, Pete Christlieb, and trombonist Andy Martin headline "Who’s Sorry Now?" before a powerful big band. Vaughn Nark sings and plays trumpet with his small ensemble for "My Funny Valentine." The arrangement smokes. Both Nark and alto saxophonist Tim Eyermann stretch out in an arrangement that evokes the memory of Dizzy Gillespie and the many ensembles he led. Tuba player Sam Pilafian, alto player Scott Zimmer, and drummer John O’Reilly, Jr. offer a trio setting for "ACA Referendum," while trumpeter Bobby Shew stretches out with piano trio to offer an exciting "Daahoud." Trumpeter Allen Vizzutti provides high-voltage trumpeting on "Zig Zag" alongside electric bass, electric guitar, and electric piano. Tom Bacon surrounds his French horn with a large ensemble for "Cooking with Bacon," while trumpeter Louise Baranger leads a big band for "Chitlins." Lee Konitz is represented with a gentle ballad "If You Could See My Now" from his Subconscious Lee Summit album. With Konitz are tenor saxophonist Peter Decker, guitarist Dany Schwickerath, bassist Johannes Schaedlich, and drummer Oliver Strauch. Tim Eyermann is again represented with the title track to his new album, Karla’s Fire. Brothers Ken and Harry Watters offer lovely solos on "The Girls Back Home" with their quintet. The album includes others, and gives the listener a fair idea of Summit’s jazz repertoire.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.